His childhood unfolded in the 1930s, when militarism was steadily strengthening its grip on Japan; it ended when the nation lay in ruins. What set H apart from other kids, despite the shared preoccupation with schoolmates, movies, and sex, was an unusually sharp eye and a precociously skeptical attitude that made him a bit of a loner in a conformist society.Though at times dark, his anecdotes are arranged with the lightest of touches and a sharp sense of humor. The total effect is of a rich, varied, and intensely readable novel, but one that involves real lives, actual events.

    His works remain widely popular in Japan today, with their celebrations of everyday joys and sadness. This edition presents Ryokan's poetry in English alongside the original Chinese and Japanese versions, notes and a biographical essay.

    Rebecca Copeland challenges this claim by examining in detail the lives and literary careers of three of Ichiyo's peers, each representative of the diversity and ingenuity of the period: Miyake Kaho (1868-1944), Wakamatsu Shizuko (1864-1896), and Shimizu Shikin (1868-1933).In a carefully researched introduction, Copeland establishes the context for the development of female literary expression. She follows this with chapters on each of the women under consideration. Miyake Kaho, often regarded as the first woman writer of modern Japan, offers readers a vision of the female vitality that is often overlooked when discussing the Meiji era. Wakamatsu Shizuko, the most prominent female translator of her time, had a direct impact on the development of a modern written language for Japanese prose fiction. Shimizu Shikin reminds readers of the struggle women endured in their efforts to balance their creative interests with their social roles. Interspersed throughout are excerpts from works under discussion, most never before translated, offering an invaluable window into this forgotten world of women's writing.

    Japino reveals the troubling world adolescence we are all familiar with, in a most foreign atmosphere of local guerrilla warfare and a state run by corrupt policemen, in Garsaponga, a rural village in the tropical mountains of the Philippines.

    It highlights 25 of the most widely translated Japanese authors, such as Yukio Mishima, Kobo Abe, Junichiro Tanizaki and Fumiko Enchi.

    This system resulted in the largest, most methodical and most deadly mass rape of women in recorded history." "Japan's Kem pei tai political police and their collaborators tricked or abducted females as young as eleven years old and imprisoned them in military rape camps known as "comfort stations," situated throughout Asia. These "comfort women" were forced to service as many as fifty Japanese soldiers a day. They were often beaten, starved, and made to endure abortions or injections with sterilizing drugs. Only a few of the women survived, and those that did suffered permanent physical and emotional damage." "Little was known about the true scope of this crime against humanity until 1991, when after almost fifty years of silence, seventy-four-old Kim Hak-soon bravely told the world of her experiences as a comfort woman. Her testimony gave others the strength to tell their stories. The Washington Coalition for Comfort Women Issues (WCCW) carefully transcribed and translated the stories of nineteen survivors, which are now presented in this book." "These courageous women have shared their experiences to document a crime that must never be repeated. They seek a formal apology and reparation from Japan's government for the horrors it imposed on them. Thus far, that government has responded with gestures that many survivors regard as a new and more subtle form of the same degradation they have faced throughout their lives." "This is not simply a history book. Comfort Women Speak documents the lives of nineteen courageous women who continue to fight to bring to account one of the most powerful governments in the world."--BOOK JACKET.

    This concept of a linguistically homogeneous and ethnically pure “Japaneseness” has been integral to the construction of a modern Japanese nation, especially during periods of western colonial expansion and cultural encroachment. But Thomas LaMarre argues in Uncovering Heian Japan that this need for a cultural unity—a singular Japanese identity—has resulted in an overemphasis of a relatively minor aspect of Heian poetry, obscuring not only its other significant elements but also the porousness of Heian society and the politics of poetic expression. Combining a pathbreaking visual analysis of the calligraphy with which this poetry was transcribed, a more traditional textual analysis, and a review of the politics of the period, LaMarre presents a dramatically new view of Heian poetry and culture. He challenges the assumption of a cohesive “national imagination,” seeing instead an early Japan that is ethnically diverse, territorially porous, and indifferent to linguistic boundaries. Working through the problems posed by institutionalized notions of nationalism, nativism, and modernism, LaMarre rethinks the theories of scholars such as Suzuki Hideo, Yoshimoto Takaaki, and Komatsu Shigemi, in conjunction with theorists such as Derrida, Karatani, Foucault, and Deleuze. Contesting the notion that speech is central to the formation of community, Uncovering Heian Japan focuses instead on the potential centrality of the more figural operations of poetic practice. Specialists in Japanese history and culture as well as scholars working in other areas of cultural criticism will find that this book enriches their understanding of an early Japan that has exerted so much influence on later concepts of what it means to be Japanese.

    

    Hitherto she has been renowned principally for the passion of her early poetry and for her contributions to twentieth-century debates about women. This emphasis obscures a major part of her career, which was devoted to work on the Japanese classics and, in particular, the great Heian-period text The Tale of Genji. Akiko herself felt that Genji was the bedrock upon which her entire literary career was built, and her bibliography shows a steadily increasing amount of time devoted to projects related to the tale. This study traces for the first time the full range of Akiko's involvement with The Tale of Genji. Genji provided Akiko with her conception of herself as a writer and inspired many of her most significant literary projects. She, in turn, refurbished the tale as a modern novel, pioneered some of the most promising avenues of modern academic research on Genji, and, to a great extent, gave the text the prominence it now enjoys as a translated classic. Through her work Genji became, in fact as well as in name, an exemplum of that most modern of literary genres, the novel. In delineating this important aspect of Akiko's life and her bibliography, this study aims to show that facile descriptions of Akiko as a "poetess of passion" or "new woman" will no longer suffice.

    

    This autobiography, duobiography, love story, cross-cultural reflection, and lesbian history explores the personal and political attachments of lesbians in Japan and Australia.

    However, even the most accepted female writers of these two eras were judged by criteria different from those applied to men, and only the most conservative were praised by the (male) critics. This study of the women who wrote in the modern era examines both famous and now-obscure writers within the context of their moments in time and their influence on later generations of Japanese women writers. Arranged chronologically, the book covers the pioneering women of the early Meiji period, the ethos of reactionary conservatism, the romantic movement in poetry, women writers of the naturalist school, Taisho liberalism, and the new era of literary women. An introduction outlines the various schools of Japanese female writers during the late nineteenth and early twentieth centuries, as well as the social and cultural trends that helped produce them. The text is appropriate for both well-read scholars of Japanese literature and newcomers to the works of the fair ladies of the back chamber, as these creative and driven writers were once called.

    The authors featured were all influenced by Akai Tori (Red Bird), a Tokyo children's literary magazine and also wrote for adult audiences. The stories are striking in that they differ little in style and content from those written for adults.